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PAINTINGS / WORKS ON PAPER:

Our interest in painting is primarily in American Folk Art and Outsider Art. The self taught artist and itinerant painters and those that had some training, but resisted becoming formalist and forged paths of their own - all of those who strived to go beyond the craft of painting and create real works of art.

It is not easy coming up with compelling and complex material show after show. This catalog is thinner than usual, but phat as ever—quality over quantity with no filler! Of course, we will be bringing more than these works of art to the fair, but herein are a group of well-winnowed works that deserve special attention. Enjoy

Little is known about the painter Redpath, but about 20 examples of his work have been found throughout New York State (Mohawk and Hudson River Valley). I have had works by Redpath painted on canvas, board and tin. This is the largest of his works that I have seen offered.

Mockorange, (Philadelphus), is a shrub with a citrus scent and has white blossoms that bloom in the late spring to early summer. A portion of this painting can be seen in the upper left corner of the photo herein— Jones in her living room/studio.

Ida Jones, the daughter of a former slave, had ten children and at the age of seventy-two began painting. Self-taught, her work focuses on local (Chester County, PA) landscapes, still-lifes and Biblical stories. The Chester County Historical Society held a retrospective exhibit in 1995 and Jones was recently included in “We Speak: Black Artists in Philadelphia, 1920s-1970s," 2015.

In 1946 Forrest Bess found himself as a painter. Although Bess had produced works in the 1930’s, it was not until 1946 that Bess, at the urging of his psychiatrist had he began to record the colorful visions that were troubling him. The visions were likely brought on from the trauma he suffered from being beaten by a fellow Army mate as a consequence of his homosexuality. In this year, Bess produced a wide range of work; representational, abstract and symbolic paintings. About this period, Bess expressed to his dealer, Betty Parsons, “Only by painting the goddamned thing out have all my symptoms of anxiety disappeared.” It was these works that got him through his PTSD and on his way to the visionary painter he would become.

Among the works created in 1946 are three related figural works. The three works were likely produced in quick succession, one after the other. They each have groups of solidly painted figures that define the space and foreboding environments. The moody works are punctuated with blocks of primary and secondary colors—they are surely direct responses to the colorful visions and trauma that Bess had discussed with his therapist.

The Ojibwa and other Native tribes have a long history of using pictographic imagery for storytelling—from medicine scrolls, spirit sticks and in many instances ledger drawings of the Plains Indian tribes.

An old label, attached to the textile, reads, “This is an Indian prayer rug used by the Ojibway and presented by one of the Indians as a friendly and protective offering for kindness received. — E. G. G.”

Though this rare textile is misidentified as a prayer rug (the Ojibway were not weavers) and it is not known if the full textile has any narrative, we may infer that the figures on the upper left may represent Ms. Gustin and the father of the Ojibwa child who may have created the textile for Guston (possibly for religious instruction). The stylized headdresses are quite remarkable and I love the image of the Indian child standing atop the horse.

An early, strong and haunting work by Lee Gatch. Gatch’s works were exhibited at the American pavilions at the Venice Biennales. Twice he was the subject of comprehensive retrospectives. The first, in 1956, visited the Phillips; the second, four years later, opened at the Whitney Museum in Manhattan and toured the country.

Kronengold was born in New Orleans and studied at New York’s Art Student League and the Pennsylvania Academy of Fine Arts. In the late 20’s and 30’s he was a leading cover illustrator for the New Yorker.

These four small, en plein air, paintings exhibit an assured handling of paint with broad strokes and blocks of color that readily define the space and light of scenes in and around New York City.

Strong Modernist landscape by an overlooked Baltimore artist. Walker was part of a regional Modernist movement along with her sister and bother-in-law. Though she is mentioned many times in the local Baltimore papers during the 1920-1930's very little biographical information can be found or other examples of her work.

A striking example of Clark's work with a female alien named "Desire" in the center panel. Unusually Clark uses loosened ink, similar to watercolor and a couple of the sections surrounding the figure. Titled on top, "MY NAME IS DESIRE FROM THE PLANET CALLED PLEASURE I AM HERE TO SERVE YOU WITH WHATEVER YOU WISH."

His street name was "The Magnificent Pretty Boy," because of his good looks and intense blue eyes. Armed with a sixth grade education, a life of drug dealing and hustling, Clark found himself in and out of the Texas penitentiary system until an assault landed him there on an extended stay.

Amusing allegorical folk art painting of a man fishing on a river or lake with a bear coming up behind him, a thunder storm with sharp lightning, a fish out of the creel, a 'No Trespassing / Private Property' sign, a spilt bottle, and a sinking boat...but there is a rainbow on the horizon! I am not a fisherman, but I guess the message here is, "I'd Rather Be Fishing."

This unique large scale woolwork resembles folk art paintings of the period. A large Victorian home is wrought along a brick wall with an iron gate. A mill, lake with over-sized swans, train tracks and a tunnel, as well as a farm and “The Cathedral of All Saints,” are also depicted.

Many of the buildings are finished with windows that have crushed colored glass.

Though I have seen many sailor's woolies of ships, I have never seen a woolwork town/landscape or one of this large scale.

Byrne came into painting at 87 years of age and while living at a rest home like George E. Morgan. He got his inspiration from newspaper clippings and local real estate advertisements. Although known for his
semi-abstract architectural works, Byrne loved to paint animals as well.

This work with its stark composition reminds one of Bill Traylor’s animal paintings.

A highly engaging work with insight into a San Francisco Bay Area tattoo parlor. Though the subjects and tattoo artists are unknown, they likely represent real people. I find the use of the ancient technique of reverse painting on glass a surprising, but effective choice.

A fascinating seven page document written by a patient at the DeWitt State Hospital, California (the same hospital and period in which Martín Ramírez was institutionalized). The patient identifies as a “Robert M. Clark, former sherif [sic] of Ventura County,” and writes to “Dr. C. R. Jackson, MD In Charge” about a “morphinism disturbance.” He weaves in a cast of characters and a convoluted story involving morphine, prohibition and the Baptist Synod of Los Angeles to name a few details. The overuse of quote marks is quite remarkable—almost every word is surrounded by " - "s.

An atypical work by George Morgan who is known for his bird's eye views of Maine towns. The patterning of the flowers is quite extraordinary. Signed, titled and dated on the back and Morgan gives his age as, "age 93 last Oct - 9."

A double sided Ray Johnson over a Xerox of an announcement of the “RAY JOHNSON CORRESPONDENCE SCHOOL MEETING SACRAMENTO STATE ART GALLERY 8:30 PM MARCH 26-.” Dated 8.28.93. With “PLEASE SEND TO LEON TROTSY.”

The other side with a screened image of bunny ears over a sideways illustrated bunny head, with the text “EAR DIARY, BY MONTE ZUMA.”

The Soviet Marxist Trotsky was exiled to Mexico and was assassinated there—ergo Monte Zuma... ...Montezuma’s Revenge. And Trotsky kept a diary, and diary sounds like diarrhea... back to Montezuma’s Revenge.

A unique work of a carved "photo" album with carved panels inset with oval paintings of various landscapes. Story is that this was made as a loven token from a husband to his his wife, as a memory of the various places that they had traveled.

One of Hutson's more mysterious paintings. The beach appears to be aflame with a series of small fires. His composition is sharply divided between the overcast sky, the shoreline, beach and a line of brilliant blue trees. His brushstrokes are fluid and the paint is loose with a fine scumble.

Fantastical painting by Maine Outsider / Folk Artist George E. Morgan. Most of Morgan's paintings are memory paintings, this work features and idealized bird hovering over an idealized landscape of a white picket fence, flowers and green fields. Morgan painted this when he was 94-95 years old.